Into the soul. In memory of Vladimir Vysotsky
Playing Hamlet, Vladimir Vysotsky said that every person thinks about the meaning of life, about why he lives. Everyone has a question "To be or not to be?" If "to be", then for what? Vysotsky was wrong. This question does not concern everyone, but the revelation comes to the elect …
The stigma on my forehead has been burned by rock since birth
Playing Hamlet, Vladimir Vysotsky said that every person thinks about the meaning of life, about why he lives. Everyone has a question "To be or not to be?" If "to be", then for what?
Vysotsky was wrong. This question does not concern everyone, but revelation comes to the elect. He also did not receive it, just like his predecessors: Pushkin, Yesenin, Mayakovsky … - "branded" with the cross of the congenital urethral-sound ligament of vectors.
I write - there are more themes at night …
… Vysotsky confessed in his "Telephone operator". Not surprising. The sound vector kept him awake at night. The ancient program "listen to silence", inherent in the nature of the sound engineer, allowed him to deeply reflect on the comprehension of truths, in search of answers to the question "who am I?" and “why?”, capturing the sounds of the Universe, put them into words. Words were ground into rhymes, each of which, like a jewel, hung on the thread of its own nerve, flowing into poetry and ballads, where there was never anything superfluous.
Vysotsky did not write a single poem. The rhythms are not the same, the wrong speed. He did not have time for long pieces. All the more valuable are his songs, in which a whole life was lived in 2.5 minutes, where the opinions of people of an entire era were expressed in a concise meaning and laconic syllable, the character, habits and actions of the characters on whose behalf he sang, whose pain he suffered, was revealed.
Night for the poet is the most blessed creative time. And the most free on the international line "07" for calls to Paris Marina, who refused to communicate with the tipsy poet. That's when the telephone operator "becomes Madonna", persuading Vladi to answer Vysotsky, "who is tired … who after the show … who does not sleep …" The entire international telephone service "07" was devoted to their relationship, which lasted 12 years.
With her there were only mirages …
According to the life scenario, the urethral leader should belong to the highest ranking female. Skin-visual Marina Vladi, a beauty from beauties, one of the most sought-after stars of world cinema, undoubtedly extended Vysotsky's life. His relationship with her in different years evolved in different ways, but it was never a family in the usual sense of the word. Vysotsky never had a real family at all, "with Sunday borscht and a joint trip to the zoo" - it simply could not be.
Around him, as a urethral leader should, there were always many beautiful skin-visual women, but none of them, except Marina, was able to hold him for so long. His tasks were different, he had different speeds, a different takeoff, he could not move in the general stream. He needed to expand the space, and not sit out in a small closed world of a Moscow or Paris apartment or in the house of the capital's suburb of Maison-Laffitte.
Having decided that the marriage would allow him to leave the USSR, Vysotsky is experiencing new disappointment. The departure of a citizen from the Land of the Soviets implied in the future his complete isolation from his former homeland. In the 1970s, a solid iron curtain fenced off the creative intelligentsia, who had left the country forever, not thinking in the Soviet way, who thought that if they were educated, refined, talented, on the other side of the ocean, a new bright free life in a democratic society would begin.
Having found themselves in the West, having fallen into a skin civilization, where there is everything and it is difficult to come up with something else, most of the "defectors" lowered their wings, realizing that no one needed them. "Radio Liberty" from Washington had its own limited staff, Solzhenitsin's place had already been taken by himself, and in order to become stars of international ballet, you need to be the Makarovs, Nureyevs, Baryshnikovs.
Of course, the disgraced Russian poet could also fit in for hysteria in the imaginary struggle for "human rights" in the USSR, if he were left with a scandal in the West. And the scandal did not happen. If he had wished it, he could have achieved family reunification, being married to a French citizen. And then who needed a scandalous half-drunk Russian poet, from whom it was not known what could be expected with his incomprehensible, meaningless in translation texts and the manner of acting "on the nerve" alien to the Western audience, in which every evening, going on stage, they "tear their veins" … There is a different style of play - western.
There "is not breathtaking at speeds"
In the urethral person, the thought is ragged, impetuous, the same as his movement. Trying to translate Vysotsky's songs was tantamount to trying to "adapt his thoughts and the way he expressed himself."
In the USSR, Vladimir Vysotsky, who was not published or published, felt "suffocating without oxygen." Both of them, Vladimir and Marina, naively believed that with the departure to another country his binges would stop. Having found himself abroad with great difficulty, he realized that neither France nor America needed anyone except Marina. Who was Vysotsky for De Niro, who hugged him at a party in Los Angeles, or for the former childhood friend Misha Baryshnikov who made an appointment but went on tour to make money?
Vysotsky would never have been able to settle down in the Western skin world with its legalized democracy, where the police do not pay off the beloved artist who violated the traffic rules. Where the priority is work, especially if tomorrow is a play or a shooting day, and not a binge with friends whom you have not seen for several years and you have something to talk about.
In the West, money is disciplined, being a tough lever for managing all relations - from private to public. Vysotsky with his Russian freelancer would never have fit into the measured mentality of Americans or Europeans, would never have accepted the foundations of Western values, which were completely alien to him, a urethral person. For whom should he sing there, who should he raise with his tinned throat and nervous strain? Who there could understand him, hating "when half … or when iron on glass." These were not his rooms, in which they smell of French perfume, but they drink brut during the intermission.
There are no prophets in their homeland
Today there is a lot of talk about the fact that Vysotsky was shaking the foundations of the USSR, hinting at its weakness, at marriage with a foreigner … In fact, Vladimir Semenovich was the only and last Russian poet of the second half of the 20th century who, in a difficult period of corruption for the country, united people with his in a word, not dividing according to party, ethnic or other grounds. Vysotsky's songs were a response to the general shortages of the population of the USSR, they were understandable to everyone. There was no censorship that could stop him. He was not published, he was rarely invited on TV, but he could not be banned, because the same prohibitors wanted to listen to his songs, realizing that he was right in relation to the era.
The genre chosen by Vysotsky, and even more so the variety of subjects, was an innovation. The presence of a bardic song in the Soviet Union is not a novelty, but it did not have the character that Vysotsky's concerts took. Yuri Vizbor sang the same values - friendship, devotion, loyalty … Bulat Okudzhava conquered with grace and filigree ornateness of the texts, combined with a special philosophical aesthetics. Both, according to the peculiarities of their own natural vectors, divided society, isolating their own, those for whom they sang.
Vysotsky did not have a select audience. As befits a urethral person, for Vladimir Semenovich the general took precedence over the particular. His orality, connecting with the crazy sound in the search, was united by the word, as the urethral leader unites a flock. His expressive lapidary texts were akin to revolutionary appeals, and his creative range and manner of performance aroused admiration both among academics and locksmiths, rewarding each according to their shortcomings.
If Vysotsky did not have left-wing concerts, he would not wander around the country, speaking today in front of miners in the warm Donbass, tomorrow in front of Siberians and residents of the Far North, and two days later, swallowing alcohol burning a sore throat with sailors, he would not have written so many songs about people of various professions, skillfully finding in each of them the main grain and romanticizing the work of a miner, ship mechanic, the feat of a pilot or a soldier …
Vysotsky's texts often contain the pronoun "we". It gives a special meaning, paying tribute to our urethral-muscular mentality, building up and strengthening general neural connections through a special oral word with which Vysotsky shouted out his songs.
He sang about people at risk, a situation that interested him. A person in the proposed circumstances, which is an extreme danger, is a threat to life, because he is always "on a ram", without a drop of adrenaline in his blood.
Urethral risk is a natural condition. Vysotsky wrote all the texts through himself, through the irrepressibility, recklessness and fearlessness of the properties of his own urethral vector. This also includes the unreasonable risk that he exposed himself and others to super-fast driving, conflicts in the theater, difficulties with the KGB … He lived as if every day was the last in his life, not saving it and “not exchanging a ruble.
The authorities' refusal to officially recognize Vysotsky as a singer and poet was perceived by him as a demotion. The whole Soviet people knew, loved and sang him, and the Ministry of Culture pretended that such a performer did not exist. Balancing on the verge between what was allowed and what was not allowed for the sake of the desire to sing gave filling to his urethral vector. Only shortly before his death, probably in anticipation of imminent departure, Ksenia Marinina and Eldar Ryazanov, at their own peril and risk, filmed “Four Evenings with Vladimir Vysotsky” on “Kinopanorama”.
Vysotsky was not an alcoholic, but the urethral vector, in which there are no brakes, is able to bring any whim to the highest intensity. These culminations were drinking binges, for the removal of which drugs were used. Insufficiently studied in those years, the "wedge by wedge" method did not give an effect, rather, on the contrary, it led to dependence, which only the closest knew about.
Jumps between two dominant vectors - from the urethral to the sound (as we learn at the training "System-Vector Psychology") are always accompanied by the most severe conditions. From the peak of the euphoria of love of life and overflowing vital energy in the urethra, when there is a need for action in a big way, when you can drop everything, disrupting a rehearsal or shooting (jerk, for example, for several days tens of thousands of kilometers, fly somewhere to the Far East to go to sea on a whaling ship), the poet is thrown into a deep pit of sound depression, out of which neither alcohol nor drugs help.
At one of these moments, flying upside down is the last action. Poetry, semi-legal concerts, in order to tell "what I think about", became necessary filling of his sound voids. But they were not enough, and as a result - a suicide attempt. A step from the balcony of the sixth floor could have been the last for Vysotsky if one of his friends had not been near.
Hangs in the sky, a star disappears - nowhere to fall
On the eve of upcoming wars, this is how nature decides, more boys are born - future soldiers, future defenders, future heroes. This is noticeable in the Patriotic War of 1812. How many heroes were glorified then by Pushkin in his poems, upset that he, a 13-year-old lyceum student, did not manage to fight the troops of Napoleon.
Do you remember: the army flowed after the army,
We said goodbye to older brothers
And they returned to the shadow of the sciences with annoyance, Jealous of whoever dies
Walked past us …
Great events give birth not only to urethral heroes. To praise their exploits, urethral poets are born, because "what time it is outside - such is the messiah."
Such a urethral-sound poet was Alexander Pushkin. The same combination of vectors and a short tragic fate was for Mayakovsky, the singer of the Russian Revolution, for Alexander Blok and Sergei Yesenin, who witnessed and participated in grandiose political changes in Russia.
For Vladimir Vysotsky, the Great Patriotic War remained a permanent theme in his work, where there were "the burning Smolensk and the burning Reichstag, the burning heart of a soldier …"
Vysotsky, like Pushkin, did not get to the war because of his age, but he took over the baton from the poets who “did not return from the battle”, those who “didn’t have time to live” to the Victory, “and didn’t have time to finish singing”, having laid down their heads at the front …
There is no other singing poet who could so harshly and so convincingly express his attitude towards the dead. He "fought" for them, perpetuating in his songs these people who were not able to "lie with a single letter", because every day they looked death in the eyes.
A large Russian audience recognized two urethralists - Yuri Gagarin and Vladimir Vysotsky - as the most significant people of the 20th century, the so-called "Russian idols". Who could doubt this? One saw the stars so close, and the other became a guiding star for all our compatriots.
It is possible to examine in more detail the properties of the urethral vector and its representatives, to see deeper the reasons for the special attitude towards the owners of this vector in our country at the training "System-vector psychology" by Yuri Burlan. Registration for free online lectures at the link:
